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Bebop Spoken There

Wayne Escoffery: "My philosophy is keeping one foot in the past and one foot in the future" - DownBeatMarch 2018.

Scott Bradlee: “When audiences hear it [Sweet Child O’ Mine] there’s a lightbulb moment when they recognise the song’s hook, even though it’s in a different context. They’re so used to hearing it one way that it causes some cognitive dissonance. If it’s a song they’ve disparaged in the past and they now find themselves liking it, that’s really interesting to me” – DownBeat March 2018.

To the best of our knowledge, details of the above events are correct but may be subject to alteration.

Saturday, November 15, 2014

Hebrides Ensemble: Dead Elvis @ Sage Gateshead. November 13.

(Review by Russell).

Elvis was in the building,
supposedly. Dead or alive, he was keeping a low profile. A cursory glance along
the concourse, a look in the café, the bar, the loo, not a sign. The main
attraction (for some) couldn’t possibly be a ‘no show’, could he?

Billed as ‘American classics with
a cool vibe’, the Hebrides Ensemble presented six pieces to an attentive, and,
belatedly, animated audience in Sage Gateshead’s Northern Rock Foundation Hall.
Elvis (dead or alive), was top of the bill. We would have to be patient, other
performers and composers were to be heard first.

Darius Milhaud (a jazz
connection via Dave Brubeck) opened the concert with Suite op 157b. Clarinet, piano (Huw Watkins) and viola played as
classical musicians do – with precision. Soprano Claron McFadden took to the
stage to sing three pieces. The first accompanied by piano, McFadden, seated,
found dramatic expression and subtle humour in Thomas Adès’ work. On Stephen
Montague’s Wild Nights (Emily
Dickinson the source) McFadden stooped under the piano lid breathing life into
the strings. Leonard Bernstein’s Dream
with Me (an adaptation of JM Barrie’s Peter
Pan) heard the soprano in reflective mood, seated once more, working with
piano and William Conway’s cello.

The showstopper – Dead Elvis – certainly livened things
up. A classical performance with dry ice smoke effects introduced Peter Whelan
(aka Elvis). Variously fleet-fingered, brash and convincing (almost!),
Whelan/Elvis walked the walk around the hall, turning heads as he and the band
played on. So, this is what Elvis has been up to all these years!

Wynton Marsalis. A Fiddler’s Tale Suite. The real jazz
element. The band assembled – trombone, trumpet (Ryan Quigley), double bass
(May Halyburton), percussion, viola, clarinet and bassoon (a quick change into
civvies for Whelan) – under the baton of Conway.
Syncopation and swing with a N’Awlins drag, easy for Marsalis, not so easy for
a contemporary classical ensemble (familiar with Stravinsky or not). Halyburton
and percussionist Oliver Cox brought an element of authenticity to the
performance but it just had to be Ryan Quigley to give it the seal of approval.
Quigley sat with the others, reading the dots, no grandstanding for him. The
final flourish – Marsalis-esque muted trumpet- made the whole endeavour
worthwhile. Elvis may well be dead, long live Ryan Quigley!

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Lance

About this blog - contact details.

Bebop Spoken Here -- Here, being the north-east of England -- centred in the blues heartland of Newcastle and reaching down to the Tees Delta and looking upwards to the Land of the Kilt.Not a very original title, I know; not even an accurate one as my taste, whilst centred around the music of Bird and Diz, extends in many directions and I listen to everything from King Oliver to Chick Corea and beyond. Not forgetting the Great American Songbook the contents of which has provided the inspiration for much great jazz and quality popular singing for round about a century.The idea of this blog is for you to share your thoughts and pass on your comments on discs, gigs, jazz - music in general. If you've been to a gig/concert or heard a CD that knocked you sideways please share your views with us. Tell us about your favourites, your memories, your dislikes.Lance (Who wishes it to be known that he is not responsible for postings other than his own and that he's not always responsible for them.)